Like any fun art opening, tonight’s event at Galerie Perrotin was packed with a crowd that contemplated one another—and the contents of their wineglasses—far more studiously than anything on the walls. That’s not to say that Emmanuel Perrotin doesn’t curate a mean space: He’s one of Paris’s chief contemporary art dealers. And tonight the installation of this site-specific Olympia Le-Tan collection created a virtuous exercise in people watching.

Le-Tan’s original conceit had been to go the full Hockney, perhaps with a little slice of Bacon on the side: English artist style. Thus the olive cords, odd socks, gray tweeds, and Age of Austerity knits—a Le-Tan debut foray into masculine tropes of dressing. As she does with the feminine ones, these were expressed with verve. As the collection developed, Perrotin suggested a collaboration, leading to the incorporation of flourishes sourced from artists he has represented. Two sequined dresses with high side-buttoned collars featured the remixed Hirst dots of Elmgreen & Dragset and the rainbow waves of Bernard Frize. A print by Le-Tan’s old man—also once a client of Perrotin’s—featured riffs on Murakami, Erró, and Sophie Calle. There was a funny Le-Tan does Calle does Westwood reference in there too. Le-Tan added sequined paint splurges to her father’s illustration of half-squeezed tubes, and said she had spent yesterday, along with her temporary intern Katie Hillier, splashing the Louboutins with more paint, Pollock-ishly.